Some documentaries can be sloppily filmed, perhaps slightly unclear, or maybe even poorly constructed and still win me over because of their captivating subjects. But the best docs accompany their fascinating stories with filmmaking savvy, a unique point of view, and possibly an inventive spin on the genre.

Seymour: An Introduction, which opened in limited release last week, falls somewhere in between those two categories. It’s an intimate, ponderous, lovely examination of music, work, and life, directed with surprising and attentive subtlety by actor Ethan Hawke. There’s not a lot of cinematic flair here, but that’s a good thing. Hawke is rarely on screen and, instead of turning the movie into a movie-star showcase, he lets his subject do the talking.

Several years ago, he was at a dinner party when he found himself seated next to Seymour Bernstein, a piano virtuoso who stopped performing live at age 50 to teach students his instrument. Impressed by his kind, conversational dining companion, Hawke confided a new fear of stage fright to Bernstein, who had experienced similar feelings. Eventually, the actor realized this guy would make for a fine film subject.

And he does. Warm and slyly funny, endlessly talkative and erudite, Seymour is exactly the kind of person you would want to listen to for 90 minutes. Hawke paints this portrait of his subject by weaving together several sequences: a lunch discussion between Bernstein and a former student/New York Times writer; footage of piano lessons; and interviews in the man’s home (he’s lived in the same NYC apartment, alone, for fifty years).

This simple, straightforward approach allows lots of time for Seymour to discuss his opinions on classical composers, concert tours, the beauty of nervousness, the intense correlation between an instrument and it’s player, and the primal necessity of music.

Most directors would try to fill us in on every aspect of Bernstein’s life, but Hawke avoids such biographical predictability (likely either because of his politeness or Bernstein’s privacy) in favor of an informative approach that feels more riveting than introductory. At times, Seymour: An Introduction has the charming comfort of a big, warm hug. It’s not all absorbing entertainment; Bernstein tears up discussing his experiences in the Korean War, and chances are you’ll do the same. The movie moves covers a lot of history and skips between several sequences, but it steadily holds onto a relaxed, low-key, but provocative tone. As soon as you’ve seen the movie, you’ll want to mull over it’s ideas with friends and family. And then? You’ll be itching to start practicing an instrument.

So, that’s my take on the film, which I got the chance to see at NYC’s IFC Center. Afterwards, the audience was treated to a Q&A with Hawke and Bernstein no less insightful and delightful than the film. Hawke discussed his reasons for making the film, while Bernstein told sometimes hilarious, sometimes illuminating stories that were left on the cutting room floor. I walked away with a smile on my face and a head full of new ideas.

For all their differences (in budget, star power, and setting), Once and Begin Again, both directed by John Carney, are remarkably similar. The two films each follow a singer-songwriter, post break-up, as they attempt to kickstart a music career, while bonding with a new friend/fellow musician/possible love interest. Do the two films prove Carney as the master of the modern musical? Seven years after it’s indie success, does Once stand up? And is Begin Again (now on DVD and available to rent) a promising follow-up?

You know the story of Once: a poor guitarist befriends a shy, Czech pianist and the two write songs and fall in love. It’s equally likely you’re familiar with the film’s success story: $150,000 indie manages to gross $1.9 million and win an Oscar. Watching the film for the first time, this year, I was surprised by all the acclaim for a enjoyable but modest film. While the songs (especially the beautiful “Falling Slowly”) are simply gorgeous, Once runs on humble charm rather than filmmaking expertise. It’s easy to see why audiences fell for the songs and the story, but Carney’s lack of directorial talent was too obvious for the film to work on me. Main problem: the over-used, almost infuriating shaky cinematography. Tim Flemming’s camerawork is rarely striking but constantly irritating; he moves the camera around so often, you get the sense he doesn’t know what to do with it. Carney’s script, meanwhile, is more premise than story but manages some raw, affecting moments of pure emotion. Luckily, leads Glen Hansard and Markéta Irglová, clearly unprofessionals, have some honest chemistry (especially when they’re performing). Maybe the Broadway show, with more music and less wobbly camerawork, would impress me more.

BeginAgain, meanwhile,takes the simple premise of Once and piles on more characters, subplots, and a layer of distinctly un-Dubline-like pop-star gloss. Gretta (Keira Knightley), heartbroken after her chart-topping guitarist boyfriend (Adam Levine) cheats on her, is a singer-songwriter who doesn’t quite know what do with her music. Then she meets a divorced, drunken producer (Mark Ruffalo), who convinces her to sign on for a record deal. The (laughable cutesy) twist? To make their album, they record around outdoor NYC locations. It’s all only slightly less predictable than you’d expect (like Once, the ending favors the bitter over the sweet). Light, amusing, and easy to please, with an undercurrent of heartache, things rarely stray far from a gentle, hopeful, hummable tone. The issue is there’s no “Falling Slowly” here, and Knightley’s singing skills are meager. It’s also hard to believe the plot, which assumes an irony-free, unoriginal folk-singer could make a splash in the era of EDM (electronic dance music). If you take the jump, however, you’ll enjoy some clever music industry quips, a satisfyingly disappointing ending, and Ruffalo’s likable turn as a failed father and once-great producer struggling against the music industry’s changing tides.

Aftertwo music-romances, you’d expect Carney to try something new… And you’d be wrong: Sing Street, slated for next year, will follow a Dublin boy as he starts a band in London. The film is currently in post-production, so it may be too late to offer advice but let’s hope the songs are memorable, the script not too predictable, and the camera steady. Or else I’ll just stay home listening to this.

Damien Chazelle’s Whiplash builds from a terrific opening and just doesn’t stop: it’s always moving, building, and occasionally erupting, as it rivets and shocks and enthralls, takes sharp turns and big leaps, then astonishes with a grand finale that’ll leave you immensely satisfied yet queasily uneasy. Like a great drummer, the film sticks to a tempo but throws in plenty of surprises and flourishes, and never plays a note off.

Whiplash opens with a black screen, as a drum roll builds from an unsettlingly slow pace to an exhilarating explosion of pure, refined noise. Then, as the tempo reaches an unbeatable high, a bass drum slams and then we cut, quicker than the climactic hit of a crash cymbal. In a wonderfully immersive shot, the camera glides through a hallway, towards Andrew Neiman, our freshman protagonist, who’s practicing away on his drum kit. Then Terrence Fletcher, the school’s highly respected jazz conductor, enters the room and tests Andrew on his skills. In a few days, he’s earned a spot as backup drummer in Fletcher’s highly elite band.

At first, Andrew is thrilled, and why shouldn’t he be? His college, the fictional Shaffer Conservatory, is the best music school in the country but, suddenly, he’s placed at the top. Maintaining that position, however, will cost him everything. Fletcher, it turns out, is no smiley inspirational hand-holder. Instead, he’s an exacting, nasty, practically abusive oppressor who feels pushing people not to but past their limits is the only way to achieve great art. In his mind: if we don’t try harder than our hardest, we’re denying the next generation a fresh set of cultural icons. Instead of giving up on this seemingly unattainable pursuit of perfection, Andrew persists, giving his all in hopes of becoming the next Buddy Rich, his idol. “I want to be great”, he tells his less focused girlfriend Nicole. “And you’re not?”, she asks. “No, I want to be one of the greats.” And so, testing all of his relationships and forcing himself to doubt his own motives and common sense, he practices and endures, struggling to persevere and surpass Fletcher’s twisty, twisted jungle of psychological manipulation, physical exhaustion, and verbal abuse.

Andrew’s struggle in Whiplash has a constant sense of genuine immediacy, and there’s a reason. Director Damien Chazelle based the film on his high-school experience as a promising jazz drummer dealing with an abusive teacher. He wrote the script for Whiplash in 2012, then adapted it into a short film to attract funds for a feature. It won Best Short at the 2013 Sundance festival, and, when he returned the next year, the full length version garnered Best Film.

That’s a terrifically inspiring story of indie success, but it actually means something because Whiplash is a breathtakingly gripping, rush-out-and-see-it filmmaking triumph, with none of the amateurish shortcomings you’d expect from a director’s sophomore effort (his first release was the modest monochrome jazz musical Guy and Madeline on a Park Bench).

Chazelle’s style isn’t just polished and professional but also personal and distinctive. Working alongside cinematographer Sharon Meir and editor Tom Cross, he displays a masterly understanding of the camera and the edit, and how to fuse the two to create fireworks. To create a palpable sense of place, for example, he shows us the tiny details of a scene (the tightening of screws on a snare drum; the pouring of soda at the movies; a couple’s feet touching under the table) using just a few, carefully framed shots and some swift cuts. And during the performance scenes, particularly the finale, (the jazz soundtrack is delightful and often thrilling) he uses rhythmic bursts of cuts and angles to put us right on stage, behind the kit, with Andrew. While the musical prodigy plays stunning solos, the man behind the scenes is creating his own tour de force. (On a side note: while I’m no jazz purist, the soundtrack is delightful and often thrilling; the boundlessly energetic title track and sped-up Duke Ellington classic “Caravan” are highlights.)

The film may bea technical stunner, but it also proves Chazelle’s talent as a shrewd, thoughtful storyteller. His script, clearly a long-in-the-process labor of love, is brisk and sharp, laced with anxiety-inducing suspense, vile humor, and startling surprises. There’s not a wasted moment, and each scene builds upon the last, creating unbearably exhilarating tension. And the snappy, clever dialogue manages to be both honestly, awkwardly touching (Andrew asking out Nicole) and lightning-speed witty (a dinner table debate).

The characters of Andrew, a tenacious workhorse, and Fletcher, the vicious instructor, are rather unusual, but Miles Teller and J.K. Simmons make them full-blooded, believable human beings. Watching Andrew’s innocent confidence transform into unstoppable determination is an awe-inspiring yet agonizing experience and Teller captures the youthful earnestness, insane drive, and unforgiving dedication with mesmerizing melancholy. Fletcher is a layered, difficult character, but Simmons nails the role. He’s ferociously intense, hurling wounding insults and music stands with unflinching brutality. But he also possesses an appalling, calculated cleverness that cuts deep (explaining what that means would ruin some great moments). And yet, for all his inhuman cruelty, there’s a bizarre reasoning to his methods of madness. Midway through, when he explains his reasons, the moment makes your jaw drop, because it’s not just impossibly despicable but also bizarrely rational.

That brings up the question that lies at Whiplash’s heart: in the quest for mastery, how much is too much? Undoubtedly, Fletcher’s tactics are nonsensical (in one scene, he repeatedly slaps Andrew to teach him to keep rhythm). Looking past his surface, you’ll find some debatable wisdom. Fletcher tells his class a story, often repeated though factually distorted, about a recording session during which Charlie Parker’s poor, off-key playing caused drummer Jo Jones to hurl a cymbal at his head. Parker was booed off stage, but he practiced mercilessly for the next year, eventually leading to his reputation as one of the all-time great saxophonists. “Imagine if Jones had just said, well that’s okay Charlie”, Fletcher tells Andrew. “Then Charlie thinks to himself, ‘I did do a pretty good job.’ End of story. That to me is an absolute tragedy.” Legendary musical virtuosity certainly doesn’t come without hardship and hard work, but pushing students to such extreme lengths is unreasonably harsh. Where’s the in between? How do you achieve mastery without going past the limit? Is that possible? That’s a question that reaches so far past music, past art, it reaches almost philosophical heights. To achieve the highest level of expertise, you do have to give your all, but Fletcher’s expectation that everyone will do anything to reach the top is ridiculous. Whiplash doesn’t really have an answer for that question, but it shows us the lasting scars and wondrous talent that insane exertion can result in.

All viewers will be thankful for whatever hardships Damien Chazelle endured in making Whiplash, because the result is an astounding two hours. Thorny, thoughtful, and thrilling, with crafty filmmaking cleverness, intelligent storytelling, and two astounding lead performances, it marks the arrival of a bold new directorial voice (Chazelle) and a brilliant new star (Teller). And it does what every movie should: hook you with its opening scene, and leave you gasping for breath until the intoxicating finale. This is independent cinema at it’s most exhilarating.

In 1964, The Beatles were still four best friends who had recently found themselves on the top of the world. Sgt. Pepper, Yoko Ono, Linda Eastman, India, Brian Epstein’s death; that was all to come. After all, Ringo had joined the band a mere two years before. To many adults, they were just the latest pop act unlikely to have any lasting influence. In epitomizing this moment in the band’s career and being a riotously enjoyable piece of art, Richard Lester’s A Hard Day’s Night is practically perfect entertainment; a feature-length rock ‘n’ roll advertisement disguised as a cinema verite-style black-and white art film.

50 years after it’s July 6 release, the film still exudes the sincere spontaneity of the Fab Four with classic songs, indiscriminate wittiness, and an irreverent sense of what’s real and what’s plot. Lester, then an obscure British director picked by the band because of a Peter Sellers short John Lennon loved, has said the film’s on-the-go nature is due much to The Beatles’ inability to remember their lines. “The structure of the script had to be a series of one-liners,” he has said. “This enabled me, in many of the scenes, to turn a camera on them and say a line to them, and they would say it back to me. There was very little structure that was planned, except that we knew that we had to punctuate the film with a certain number of songs.” So unscripted was the film, that when filming was over there was only one song left to record- the title track, though the film didn’t have a title. (In the end the term a “hard day’s night” was a Ringo phrase that Lennon told Lester about at lunch, and then went to record afterwards). Turns out the approach worked just fine. When the group meets Paul’s “grandfather” on a train, the moment is so downright amusing and random that it seems like the band made up the entire scene right then (some of it they probably did).

Central to the appeal of the film, is, of course, The Beatles themselves. Whether they’re performing, dancing, or being interviewed, the four come off as goofy, surprisingly regular pranksters who want to escape the confinements of celebrity life and just party. Lester doesn’t do a lot to differentiate the group but the differences are there already. John is the cheeky bad-boy who happens to be leading the band; a sly jokester, yes, but also the one with the most obvious musical talent. Glad to simply party, Paul is the fun-loving pretty boy with the strange “grandfather”. George, comical but often quiet, might be the hardest to categorize but always seems to be having a good time. And Ringo is Ringo: droll, lonely, soft-spoken, and possibly the most distinct of them all.

In limited re-release now, the film sports a spiffy new restoration, taken from the original 35mm negative, reverted to it’s original ratio, approved by the director, cleaned up by innumerable digital tools, and scanned in glorious 4K. And you really can tell the difference. The whole film has a newfound visual clarity, without totally altering the vintage, grainy beauty of Gilbert Taylor’s raw and real cinematography.

It’s a testament to the film’s power that the songs never overshadow the other scenes.With songs like these, that’s no easy feat. Cleaned up with a 5.1 Dolby mix, those gorgeous pop harmonies have never sounded so infectious, nor has the simple, iconic instrumentation sounded so musically brilliant. Apart from the title track (possibly music history’s greatest single chord) and the wonderfully danceable “Can’t Buy Me Love”, few of the songs are the type of Beatles classics that anyone on the street would recognize, which makes rediscovering the soundtrack such a joy. John’s harmonica part on “I Should Have Known Better”, Ringo’s punctuating drums on “I’m Just To Dance With You”, Paul’s beautiful, surprisingly melancholy “Things We Said Today”, George’s gorgeous guitar on “And I Love Her”: rarely is pop this infectious, influential, and flawless.

The classic songs, the extempore hysterics, the raw cinematography…it all comes together in A Hard Day’s Night, one of the most delightful and important moments in the last of fifty years of music, movies, and culture. For proof, see the opening-credits scene. John, Paul, George, and Ringo flee a mob of screaming fans, as they dodge girls, run through cars, and hop on trains, all to the sounds of “A Hard Day’s Night”. Some things come and go. The Beatles isn’t one of those things.

Here’s a quick wrap-up post on five films I’ve seen this summer but haven’t yet reviewed. They’ve been out for a little while but some are definitely worth seeking out.

20 Feet From Stardom: 4 1/4 Stars(Limited release, on DVD soon): You know their voices but not their faces. That’s basically the concept of this fascinating documentary about back up singers (many African-American women) for artists like the Rolling Stones, Bruce Springsteen, Stevie Wonder, Sting, the Talking Heads, Lou Reed, and many more. The women spill the secrets of being a back-up singer and even discuss more wide ranging topics about the music industry. The movie’s funny, insightful, fun, and a good time. Just like listening to your favorite song, you’ll never get tired of this one.

Kon Tiki 4 Stars (Limited Release, on DVD soon): A good ol’ fashioned adventure in an age where everything exciting must be out of this world. The film tells the true story of Thor Heyerdahl, as he leads a small crew of fellow men on a balsa wood raft to cross the 4,300 miles of the Pacific and prove South Americans settled in Polynesia during pre-Columbian times. Directors Joachim Rønning and Espen Sandberg have a particularly strong eye for action and have a real sense of location. They’re slightly less talented in the story department; some scenes are too long, others too repetitive. In the lead role, Pål Sverre Hagen is a bit wooden. But for the most part this is a wildly entertaining survival story with depth, seamlessly realistic special effects, and a thrilling shark sequence that makes the film worth seeing alone.

Much Ado About Nothing 2 1/2 Stars (Limited Release, On DVD soon): Joss Whedon’s black and white remix of Shakespeare’s comedy classic tries to be modern and old fashioned, hilarious and solemn. It ends up as an incoherent mess saved by some talented actors. The main problem is that Whedon misunderstands Shakespeare; he directs the early scenes with zero- interest in the source material. Whedon also doesn’t have a clear vision of his interpretation: it’s neither a home movie nor a professional film, and some scenes have a comic fizz while others reek of pretentious melodrama. Luckily, the third act has more comedic energy and dramatic importance than the rest of the film. For the most part you can give the thanks to Alexis Denisof and Amy Acker, as Benedick and Beatrice. Unlike their weaker co-stars, the two have the gusto of stage veterans and the timing of stand-up comedians. They deserve to be stars. There are other strokes of brilliance (some unforgettable slapstick, some fabulous dialogue, beautiful cinematography). But for the most part, the rest of the film lacks the two leads’ energy.

Mud (Limited Release, Now on DVD) 4 1/4 Star: This Southern drama is part romance, part thriller, and part coming of age story. Thanks to the capable hand of director Jeff Nichols, all the parts turn out incredible. The cast is phenomenal: Matthew McConaughey gives a hauntingly commanding standout performance as the title character, but it’s Tye Sheridan and Jacob Lofland, as two teens vowing to help Mud escape the law and reunite with his girlfreind, who steal the show. The rest of the cast is dominated by terrific character actors including Sam Shepard, Reese Witherspoon (playing against type), and Michael Shannon. This is exactly what a movie should be: moving, exciting, and funny. The film had a small release, but you won’t want to miss it on DVD and iTunes.

Pacific Rim 3 Stars (Wide Release, On DVD Later This Fall): I don’t mid a rock-em sock-em action movie that tries to be just that. But Guillermo Del-Toro’s robots v.s. monsters epic (Jaegars vs. Kaju, if we’re getting technical) is overly pretentious. It tries to have soul and character, and sometimes does, but you can feel Del-Toro is fighting between his film-making smarts and the 8 year old mindset that’s required for this type of film. If only he had given in to the 8 year old. Instead, we’re left with some strong material: admittedly cool action, a bit more character development than you’d expect. But there’s also some weak stuff; for example, while the cool action scenes are fun to watch once or twice, the battles have are derivative of each other. Alas, the film feels like a B-movie with some extra heart.

Well that’s it! If these films have left theaters near you, seek them out on iTunes and other streaming/renting devices. Enjoy your the end of another summer at the movies!

A dark theater. Two big TV screens. A clip from the sci-fi George Lucas 1977 blockbuster Star Wars is shown. And then the orchestra starts. That’s what the movie music magic performed by conductor, Kurt Bestor, singer Jennifer Beth Glick, and a full sized orchestra is like.

From a through the decades history to a special tribute to John Williams, it’s a spectacular experience that I won’t forget anytime soon.

It’s great for both movie buffs and music fans, and was performed by the Cape Cod Symphony in Cape Cod, MA.

Starting with A Night at the Movies overture that terrifically sets the bar high. The performance continued not to disappoint. Next up was the decade overview. Charlie Chaplin (20’s), Gone with the Wind (30’s), Red Pony (40’s), Vertigo and Psycho (50’s), The Pink Panther (60’s), Star Wars (70’s), Hoosiers (80’s), and a medley of the top 5 super hero movies ever were given magnificent renditions. All the film scores were also accompanied by film clips which added to the excitement. The top 5 super hero movies were (from 5 – 1) Batman (1989), Superman Returns (2006), X2 (2003), Batman Begins (2005), and Spider-Man (2002).

Then there was an intermission when I had a chocolate chip cookie and talked about the show with my family. And then back to the theater!!!!!!

After the intermission a scene from the Imax movie The Great American West was shown. The orchestra then did some Beethoven music to accompany the clip. After they did Stalling’s version (a guy known for Bugs Bunny, Looney Tunes, and Warner Brothers music). The scene showed a man fighting a bear on land, in the water, and inside a hole in the ground. After the way too serious Beethoven rendition and the way too silly Stalling version was the host of the show, Kurt Bestor’s version (he actually composed the real movie score too). Obviously Bestor’s version was best mixing action, comedy, drama, a dark tone, and light moments to great effect.

Then Jennifer Beth Glick was welcomed onto the stage to sing two Oscar winning songs: Moon River from Breakfast at Tiffany’s and My Heart Will Go On from Titanic. Glick was a good singer but what was up next was even better.

For the fantastic finale Kurt Bestor conducted a tribute to John Williams. E.T., Harry Potter and the Sorcerer’s Stone, Star Wars, Raiders of the Lost Ark, and more were all performed magnificently.

This was a fantastic show. My favorite part was when they did Star Wars during the Through the Decades segment. I liked it because it was very lighthearted yet extremely exciting. They played a song from Star Wars which is equally as riveting and classic as the Star Wars theme and the Imperial March. Sadly the show I went to was the last in Cape Cod, or at least for now. But with such a great host there’s no reason why you wouldn’t want to go to this show. In fact the only bad parts were that I wish they showed more of the movie clips and had one gigantic movie theater-like screen. (I also have to complain that the show actually stopped.) A Night at the Movies was an experience full of movies, magic and more!!!!!!

Flick and Flack talk about their 2012 Oscar Predictions in Part 1 of a 3 part video series. In this video, Flick and Flack discuss the technical, short and foreign film categories and give their predictions in all of those categories for this year’s Academy Awards.

This years’ Oscar nominations were surprising; The Secret of Kells, UP, Princess and the Frog, Coraline, and the one I hope wins, Fantastic Mr. Fox are the animation nominations.

Some other good nominations are Harry Potter and the Half Blood Prince for best cinematography. Star Trek for makeup, sound editing, and visual effects. Meryl Streep was nominated for Julie and Julia for best actress in a leading role. George Clooney got a nomination for best actor in a leading role in Up in the Air. He was also Fantastic Mr. Fox in Fantastic Mr. Fox. Up in the Air was also nominated for best picture, best director, two actresses in a supporting role, and adapted screen play. UP also got nominations in addition to best animated film for best original screnplay, original score, sound editing and most surprising best picture! Avatar got nominations for best picture, director, art direction, cinematography, film editing, original score, sound editing, sound mixing, and visual effects. Sherlock Holmes got nominated for art direction and original score.

I wish I could see Julie & Julia, Up in the Air, Avatar, Star Trek, Harry Potter and the Half Blood Prince, and most of all Sherlock Holmes. I think they are appropriate for me except my parents do not agree.